Word: everymanic
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Reagan was without a doubt the greatest communicator among postwar Presidents. Even J.F.K., with his faintly patrician manner, could not play the effortless everyman as Reagan did. Every politician with national ambitions today tries to capture his easy way and Teflon character. All Republican candidates are conditioned now to always ask themselves, What would Reagan...
...while pondering that "the narrative is constructed round Christ's parable of the lost piece of silver." Skinner's reaction: "I don't read the Guardian." The gap between Skinner and his higher-brow fans is telling; indeed, it's almost the point. Somehow Skinner wrings the consciousness of Everyman out of his own idiosyncrasies. His relaxed, chatty raps are littered with arcane references to specific British teenage slang and culture, yet the first album sold 130,000 copies on the Continent. He may represent "the streets," but he's not standing on a class soapbox. His neighborhood...
This 90s reworking of the Gershwin classic Girl Crazy won rave reviews when it played Broadway a decade ago. Harvard STAGE and Galper & Rubins productions take the reins of this tale of everyman Bobby Child’s quest to find himself through music, which features several Gershwin favorites. Proceeds go to arts education for Boston Youth. Through Saturday May 8th. Tickets $10, $7 for students and seniors. 8 p.m. Agassiz Theatre...
Disappointed academics like Sarah have somehow become the novelist's shorthand for the middle-class everyman. Paul Trilby, the hero of James Hynes' Kings of Infinite Space (St. Martin's; 341 pages), is the proud possessor of a Ph.D. in English, an illustrious achievement that has earned him a job as an office temp at the General Services Division of the Texas Department of General Services. TxDoGS, as its denizens call it, is a dreary cubicle farm consecrated to obscure bureaucratic functions. When a co-worker dies at his desk while working overtime on a pointless assignment, Paul...
...subsequently performed every year on the steps of the Cathedral at Salzburg as a sort of dramatic-religious festival. Although God, Death, the Devil and a host of other abstractions put in their physical appearance, it is more than a mere translation of the English 16th century original "Everyman." Hoffmannsthal has taken the bare outline of the old play, and molded it into a work not only dramatically satisfying, but also sincerely effective as a plea for some kind of religious faith in a time of loose, money-grubbing morality...